Review: Meek’s Cutoff

by Christopher Misch
16, May 2011Approved By NP, ReviewsView Comments

Long has the western genre been plagued by the Hollywood romanticized interpretations of the old west derived from popular Western fiction, including the writings of Zane Grey and Louis L’Amour. This traditional view of western cinema is largely composed of the iconic cowboy figure, climatic showdowns at dawn, and beautiful desert landscapes.

In Kelly Reichardt’s Meek’s Cutoff, absent is the iconic cowboy figure and his courageous displays of heroism. The beautiful desert landscape has been transformed into a spiritless wasteland, who’s exquisite aesthetics act as a mere facade concealing its true dangers and pungent realities. The film follows a small caravan of settlers, drudging slowly over the desolate Oregon High Desert landscape in the search for a path over the Cascade Mountains.

With the painstaking conditions of their travels etched into the rough complexion of their faces, these wearisome inhabitants of the frontier find themselves divided between the navigational abilities of a captured native and their hired guide who until now has proven unreliable. But, when their two week journey stretches to five, tensions boil as their supplies dwindle and their search for the mountains diminishes into a basic journey for water and for survival.

Bruce Greenwood stars and is nearly unrecognizable as the caravan’s undependable guide, Stephen Meek; and Michelle Williams is excellent once again in the role of Emily Tetherow, a lady who questions Meek’s decision making and sees the advantages in being kind to their Native captive in offering food and assistance, when other members of their band would much prefer to end his life. Will Patton, Paul Dano, and Shirley Henderson also star in this revisionist Western.

For a western featuring no shootouts, no showdowns, and limited violence of any kind, Meek’s Cutoff is a film that contains extraordinary tension within its contemplative pacing. This tension draws itself not from anything physical, but rather emotional and mental, specifically from the fear of the unknown. For our fragile travellers, everyday without water represents a day closer to death; every hilltop represents cover for impending attackers; and every dark of night represents a shadow for potential predators to observe and strategize.

In eliminating the traditional foundations of the western genre, and replacing them with an intimate portrait of this band of defeated settlers, Reichardt has crafted what feels like one of the more original and authentic westerns to come out of the industry in quite some time. While its contemplative nature and abrupt ending will definitely puzzle and even frustrate some audience members, the film’s success can be found in its performances and its remarkable ability to quietly build tension as Reichardt gradually tightens the screws.

87/100 - While its contemplative nature and abrupt ending will definitely puzzle and even frustrate some audience members, the film’s success can be found in its performances and its remarkable ability to quietly build tension as Reichardt gradually tightens the screws.

Christopher Misch
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I've always loved movies, but it wasn't until under the tutelage of Professor Garry Leonard at the University of Toronto that my passion for the industry became an understanding of an art form. With a specific fascination in both the western genre and Asian cinema in general, I am of the view that good movies are either enlightening or entertaining, and if you are truly lucky they are both.
  • http://nevermindpopfilm.blogspot.com Fitz

     Sounds excellent. I can only hope this hits an indie theatre near me.

  • http://twitter.com/NextProjection Christopher Misch

    Not sure if we’re counting Meek’s Cutoff as a 2010 or 2011 release, either way it’s up there as one of the year’s best films.

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