Kelly Reichardt’s films quietly creep up on plotlines, sniffing around the possibilities of storytelling before shifting away into a different kind of thing. In Meek’s Cutoff, a wagon train of pioneers is lost in the parched West; in Night Moves, a group of environmental saboteurs plans a bombing; in Wendy and Lucy, a traveler faces a transportation problem on the road to somewhere. None of these situations is allowed to come together in the usual kind of completion, which means you’re left with Reichardt’s wonderful way with actors and dialogue and a sense that we should be concentrating on gesture and intonation rather than plot.
I don’t want all movies to be like this, but I’m grateful for Reichardt’s talent for warping our movie expectations.
Kelly Reichert’s Meek’s Cutoff (Oscilloscope) opens without preamble. We are given a place and a year —”Oregon, 1845,” stitched into a piece of homespun embroidery—and then dropped in the high desert to observe three frontier families ford a river. They wordlessly, almost morosely, march across, then take the opportunity to fill canteens, wash and check the wagons before setting off again. These pilgrims in the desert are a long way from the Promised Land and their buckskin guide of a Moses, Stephen Meek (Bruce Greenwood, looking like a road show Buffalo Bill), talks a good story of frontier adventure but it’s clear to the three families of the tiny wagon train that his shortcut to the Willamette Valley has them lost in the desert.
Michelle Williams stars as Emily, the young wife of Soloman (Will Patton), an older man looking to start again in the new land, and while she is duly deferential in public, in private they share a healthy honesty in communication you suspect is absent in the other tents. One wife (Shirley Henderson) is pregnant and exhausted — they walk beside the wagons, not in them — and another (Zoe Kazan) on the verge of hysteria. But quietly. Always quietly.
This is the quietest American film I’ve heard in years. Apart from the tall tales spun by Meek, the dialogue is hushed and the audience strains to hear the discussions of the men debating their options. Much like the wives, who are left out of the discussions and stand apart, patiently picking up what they can. The soundtrack is creaking wagons, the wind through plains, the sounds of setting and breaking camp. Until The Indian, a lone figure shadowing them on their journey, is first spotted. He brings the music with him but it’s a lonely, alienated soundscape, mood rather than melody. Meek assumes he’s a threat, but not due to any native intelligence on his part. Forget the mountain man as frontier seer and survivalist savant. Meek can’t place the man’s tribe or language any more than he can find their trail. Emily’s defiant stand to protect The Indian (that’s his name, as far as any of the settlers are concerned; there’s certainly no communication between them) is as much practical as humanistic. If Meek can’t find water, then maybe this desert dweller can. If only out of self-preservation, as he’s tied—quite literally—to their fortunes.