Review of Meek's Cutoff (2011) by Daniel K — 16 Oct 2011

4: Spoiler alert: this review will disclose what one could think of as key plot elements. Absolutely mesmerizing. The ending is about as brave as it gets as well, so much so that I couldn't help but burst out laughing at its audacity.

It is not the kind of ending that brings about much resolution, or at least resolution in the traditional sense. Traditionally, a film recounting a journey across the country on a wagon trail in 1845 would result in the settlers actually arriving.

However, Ms. Reichardt's manner of resolution is simply to bring us to the point where Michele Williams' character has gained the upper hand over the old grizzled trail hand that was up until that point serving as the settlers guide.

It is abrupt and devastating, as we are left with no real idea whether the settlers will eventually find water and survive or will perish out there on the plains (this was purportedly what we were searching for along with the settlers).

The real narrative thrust thus seems to become about the relationship between the men and the women, as well as between the settlers and the lone Indian. I've never seen a Western quite like this, and it can be called a Western.

It is set much earlier than is usual, in an era when there really was a complete lack of civilization over immense stretches of the West. Most Westerns have some sort of proto-civilization and seem to be more about the conflict within that proto-civilization , whereas this film seems to be more about the conflict between man and wilderness.

However, as I alluded to earlier, it ends up being more about the lager conflict within society over the role of women and minorities, at least in a sense. The opening scene in which the settlers slowly and silently make their way across a river is breathtakingly beautiful and has been added to my list of all-time favorite scenes.

True Grit was the best new Western I'd seen in years, but I think Meek's Cutoff may have taken its place (at the very least it has given it a run for its money). They are vastly different films.

This could fall into the same category that Jarmusch's Dead Man falls into, meaning Westerns that don't really fit into a traditional category, although one could argue both are revisionist Westerns (of the art-house variety).

Some might find the film slow and boring, but I found it to be thought-provoking, refreshing, riveting, mesmerizing, beautiful, etc. Women are not often given this kind of role in the genre, nor the genre normally so desolate.

It is a singular and startlingly impressive film. Ms. Reichardt may be my all-time favorite female director and is certainly one of the most promising directors working today as she now has a pair of masterpieces (this and Old Joy; I haven't seen Wendy and Lucy).

Another testament to the films incredible power is that a 4:3 ratio film that clocks in under 100 minutes could very accurately be described as epic in scope. Alternatively, one could think of it as a highly intimate work of art as well.