La dernière piste

I have many friends who don't like most of the high tech movies that involve car races, shoot um ups, special effects & overall fast pace.

well, here is a movie for you! Slow & easy it is You take a small group of travelers in 3 covered wagons & experience what it was like 150+ years ago for the folks who settled the rugged and undeveloped areas of our country.

Wandering travelers and dependent on a guide who is "lost" and then a captured Indian who is questionable in where he leads. No real communication with the language barrier.

It wasn't pretty. But they did not know much different and had the simpler life in every way imaginable. For those who long for the "good old days" I think this exemplifies that the nostalgic images lack reality At the end we don't know if the party survived, if a baby was born and lived, if the Indian took pity (if it was an ambush) on the brave woman who defended and protected him.

I can envision a sequel with the story narrated by the young boy in the party as an adult looking back. The photography is very rich and tells a story of its own. The music is bold and beautiful. The acting is very well done & well cast.

In a way I was disappointed after I saw it but then in reflection decided I was very amazed with what was conveyed and the real impact it had on me. Not a movie for everyone but a well done work of art

Its unorthodox – 'revisionist' – take on the Western will stimulate more debate than the story itself. It's sure to be praised for its presumed artistic qualities, but I watch Westerns for their brio and sense of fun, never as art.

My verdict is that 'Meek's Cutoff' is slow – definitely slow and not 'well-paced' – desultory and monotonous. And yet every time the film was on the cusp of being disengaging, it did something to regain my attention. I saw the film twice and still couldn't decide what it was about. This is a film of suggestion. We're responsible for how the story ends.

After a wordless opening, we encounter a motley crew, some Irish but mostly American. They're being escorted, along with their few wagons, donkeys, horses and oxen, across the beautiful and baleful Oregon plains to a valley, where we assume they will settle. Their escort is Stephen Meek (Bruce Greenwood), a loquacious, over-friendly cowboy, who has a tacit propensity for violence.

An etching by one of the band (prolific youngster Paul Dano) on a dead tree updates us on their progress: 'Lost' (something inhabitants never are in Westerns; their sense of geography is always mind-bogglingly good). They've been travelling for several days in the wrong direction and are in desperate need of water. Meek insists they will reach their destination soon.

Film factotum Kelly Reichardt, here director and editor, keeps us in the dark for much of the film. The camera pans back when there is conversation. What dialogue we do hear is muffled and limited (or incomprehensible when spoken by Meek). It's like we're eavesdropping and aren't supposed to know something.

A solitary Native American is spotted. His presence in these deathly quiet lands frightens the band. He is captured by Meek and Solomon Tetherow (Will Patton). Some argue that he will lead them to more Indians, so should be killed; but Solomon reasons that he can be used to lead them to water and their destination.

The band continues their voyage, taking 'The Indian' with them. Still nothing happens. Gradually, an ominous sense creeps in, made palpable by Jeff Grace's eerie score and Chris Blauvelt's atmospheric cinematography. (Both men have played second fiddle on big films, but show their competence as lead fiddlers here.) Suddenly the possibilities abound. Is that a smile 'The Indian' affects when one of the wagons is demolished? Does he plan to ambush them? Will the band ever reach the valley?

Apart from film students and die-hard Western fans, I can't tell who to recommend this critically acclaimed film to. I found the vistas beautiful to behold and I appreciated the tranquility. There's a faintly mystical quality. But I found it plodding and I can't forgive the ending, which I thought was criminally abrupt.

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It is telling that Reichardt chose to shoot this film in Academy ratio. Right away we know this will not be a romantic image of the Old West, with breathtaking, expansive vistas (although the cinematography is lovely in its own way). Instead, we are constricted, claustrophobic, uncertain of what lies just beyond our limited field of vision. It is a film of quiet desperation, hard-scrabble survival in painstaking detail, and growing mistrust. In some ways it evokes the horror genre, perhaps something like a subdued BLAIR WITCH PROJECT, as the severity of the situation deepens and doubt takes hold. The film manages a sense of gritty realism without resorting to overstating the harsh conditions for dramatic effect. The travelers aren't stumbling around filthy and bloody, they maintain a semblance of civility even as the promise of civilization seems more and more doubtful. The ending will no doubt frustrate many, but didn't bother me one bit.

As for the cast, Michelle Williams impresses me again with her thoughtful restraint, and I'm always pleased to see Shirley Henderson. Greenwood does well with a part that could easily have called too much attention to itself, and for once I didn't hate Paul Dano. The score is wonderful, as haunting and sparse as the landscape. I adored WENDY AND LUCY, and quite liked OLD JOY (in fact, that film seems better in hindsight than I gave it credit for). Reichardt is emerging as one of American cinema's most distinctive and worthwhile voices. I look forward to her next endeavor.

What shines; There are a lot of interesting tricks pulled by the director that you haven't seen before. At times I was very shocked and amazed at the reality of what these people went through on the Oregon Trial.

What blinds; One word. Slow. besides that your not going to find any happy or eccentrically gay characters here. The characters are pretty basic but Michell Williams and Will Patton are enjoyable along with the rest of the cast.

I gave this film a 9. The average American won't agree but if you're in to artistic movies, good acting, and nice aura based movies you will enjoy this.

I always enjoy this style film which is similar to There Will Be Blood and No Country for Old Men.

Sum= A MOVIE YOU WILL THINK ABOUT FOR DAYS.

Kelly Reichardt's western 'Meek's Cutoff' is dour, unmelodramatic, realistic, claustrophobic, and ultimately unresolved. These qualities are (along with its striking use of the semi-desert of eastern Oregon) the film's strengths; but ultimately, also its weaknesses. While there's atmosphere, not a lot happens; and while the film is pleasingly un-glib, there's not too much characterisation either: the braggart explorer, the Puritan settlers, the mysterious native, none of the characters go far beyond stereotype, even if their micro-behaviour is impressively restrained and convincing. As a piece of recreated history, the film has merits: but as dramatic entertainment, it's sadly guilty of not even trying.