Meek’s Cutoff (2010)

Directed by: Kelly Reichardt | 104 minutes | western | Actors: Paul Dano, Bruce Greenwood, Shirley Henderson, Neal Huff, Zoe Kazan, Tommy Nelson, Will Patton, Rod Rondeaux, Michelle Williams

With ‘Wendy and Lucy’, American director Kelly Reichardt made one of the strongest films of 2008. This road movie about a wandering girl and her dog illustrated the twisted individualism of American society. The film implicitly criticized the policies of the Bush Jr. administration, which preached the law of the fittest for eight years.

In the western ‘Meek’s Cutoff’ (2010) this political criticism is even more evident. Title hero Stephen Meek has been appointed by a group of hikers to guide them to fertile ground. Meek is kind of like Bush Jr. in 19th century disguise, a leader who terrifies his people and leads them to the abyss with a pistol in each hand.

In addition to a reckoning with the former president, ‘Meek’s Cutoff’ is a plea for more femininity in politics. Femininity stands for humanity and intuition and masculinity for reason and egoism. Meek relies on his gun to crush an Indian, the triggers rely on their intuition as they promote this Indian to a guide.

Despite the underlying themes, ‘Meek’s Cutoff’ never quite captivates. The film is too sophisticated, the characters serve as representations of an idea rather than as flesh-and-blood people. Also, some characters are too bold: the Indian as an imperturbable natural person and Meek as a caricatural racist. That the wisest man in the company is called Solomon is also a bit complacent.

The fresh jacket in which the western has been put on is successful. Archetypal western elements are avoided. In addition, the film has dazzling landscape photography. Cinematographer Chris Blauvelt worked as an (assistant) cameraman for Gus van Sant (‘Elephant’, ‘Gerry’) and David Fincher (‘Zodiac’) and it shows. Especially in the beginning, you revel in the grand beauty of the American landscape. Since the pace of the film is extremely slow, you get plenty of time to enjoy that beauty.

Despite those pluses, this film never approaches the class of its predecessor. ‘Wendy and Lucy’ was not only a political critique but also a compelling friendship drama. ‘Meek’s Cutoff’ never moves and therefore gets stuck in a political plea. In that respect, the end of the film is symptomatic: it’s all true, but we expected more from it.