Review of Meek's Cutoff (2011) by Pat P — 31 May 2011

I saw this in a crazy week when I saw about 10 other films at the cinema, and this is the one that I just cannot stop thinking about. Hailed as "Truer Grit", Meek's Cutoff is a realistic, deliberately slow-paced western that rejects almost all the familiar, 'enjoyable' and expected conventions of western films, indeed rejecting most of the traditional forms of narrative cinema, offering few answers, little background information, and no certain ending.

It is hypnotic (as Reciardt's films have all been so far), with a beautiful eye for details in barren landscapes - some of which appear to have been drained of any colour above pastel shade; the desert plains and hills look as they are - almost inhospitable with no sign of water around.

Unusually, the film is shot in the now long unfashionable 4:3 Academy Ratio, that heightens the stifling weather conditions and the claustrophobia felt by the characters at certain points. The three families' journey to what they most hope will be a better life over the Cascade Mountains becomes gradually imbued with dread (there are few "incidents" save for that back-of-the-mind scratch that the water is rapidly running out), and this together with excellent sound design similar to that used in Gerry makes for a film that is both very difficult to sit through but somehow incredibly immersive and painstakingly truthful.

There are many themes that could be at work here - that of feminism, racism, politics, to name but some. Several critics have commented that the decision the families (actually, the men, since the women - possibly Emily Tetherow accepted - are not consulted) face - whether to trust Meek in deciding what journey to take despite his obvious tall-tales, or put their faith in the "Indian", a member of a race they have been told all their lives are an enemy - has parallels to the invasion of Iraq.

There are no clear answers here, and some of the audience I saw the film with voiced their negative opinion of the inconclusive ending loudly; where they were unsatisfied I was, however, impressed with Reciardt's of absolute control and unwillingness to offer easy, or any, answers.

One last thing I want to mention are the performances which are so natural you don't notice the acting, but especially, the almost always wonderful Michelle Williams who the camera simply loves in a way I can't describe, especially here, her every facial expression telling a thousand unsayable things (as a woman of this period of course, she wouldn't have been able to say what she wanted to, although her character certainly is the most proactive of the women).

To paraphrase another critic, in ten years time I honestly believe that Meeks Cutoff will be recognised as a classic, and I already am desperate to see it again.