Director Report Card: Kelly Reichardt (2020)

7. First Cow

It was probably inevitable. Kelly Reichardt is among America's mot acclaimed independent filmmakers these days, creating critically beloved little pictures that are distinctly her own and largely non-commercial. A24 is a studio that has gotten big by catering to a hardcore cinephile demographic and selling small pictures in smart ways. The two were going to cross paths eventually. So, for her seventh feature, Reichardt would hitch herself to the A24 train. The studio clearly believed in “First Cow,” her oddly named latest. They were determined to release it in theaters for quite a while, before the encroaching reality of the pandemic made a video-on-demand release the most logical route. The upside of this is I am able to enjoy “First Cow” much sooner than I probably otherwise would have.

The year is 1820 and the Oregon Trail has opened the path to the Pacific Northwest for many pioneers. Otis Figowitz, “Cookie” to his friends, operates as the chef to a group of rowdy fur trappers. He saves the life of King-Lu, a Chinese immigrant on the run after killing a man in self defense. Some time later, Cookie and Lu reunite at the nearest outpost, quickly becoming close friends. Cookie hopes to open a bakery some day but the only cow in the area is on the property of a rich Englishmen. Lu encourages Cookie to sneak up to the cow at night and take some of its milk. He uses the milk to cook delicious doughnuts, which are then sold in town to great success. As their business grows, Cookie and Lu receive more attention. And not all of it is going to be good...

“First Cow” sees Reichardt returning to a theme she hasn't touched on too much since “Old Joy.” That would be a close friendship between two men. Cookie saves Lu's life because he's a decent human being but also because he sees himself, a quiet outsider, in the persecuted immigrant. The duo's mutual outsiderdom is the foundation for their friendship but it's not why it lasts. Lu supports Cookie's dream of becoming a cook. Cookie supports Lu's dream of opening an inn. Their conversations are quiet but confidential. They have an understanding of each other. The bond between them is comfortable. It's the kind of friendship everyone dreams of, really. “First Cow” leans into that mood of relaxed companionship.

“First Cow” opens with a quote about friendship but this is not the movie's only concern. While the idea has bubbled under the surface of Reichardt's films from the beginning, this is the filmmaker's most searing indictment of the capitalistic system. Cookie and Lu have humble ambitions, of making delicious food and creating a place where people can rest. Yet Lu also notes that someone can make a lot of money running an inn. There's a sharp sense of the divide between people like the two and the rich man who lives on the island. The two, or Lu at least, wants to become like that. Yet a barrier – literal ones, like the fence around the cow, but mostly societal ones – keep them away from that status. They make money cooking but it's still not enough to grant them access. The veneer the Haves create is designed to keep out the Have-Nots, which is simply anyone deemed unworthy.

Through this theme of class division, Reichardt gets a chance to return to her favorite idea: People trapped in situations they have no control over. In a key moment, Lu says that the two of them don't have enough money to go but are too poor to stay. Cookie is very nervous about the idea of stealing the cow's milk, sneaking over to the rich man's property every night to milk it. Yet what other options do they have? You need milk, a commodity in this setting, to bake. The two are drawn further into a situation that will reveal their crime. At the same time, they can't turn back either. Inevitably, this turns out badly for them. Cookie and Lu are trapped by circumstance and eventually it dooms them.

“First Cow” is also about simpler things too. Despite playing a somewhat incidental role in the story, Evie the Cow gets the title spot. As Cookie sneaks over every night, he talks gently to the animal as he milks it. We learn the cow's mate died, that it's alone in this territory. This makes the animal something of an outsider too, so it's easy for Cookie to relate to her. It's not like the cow minds Cookie milking her. She happily gives what he needs, unlike the rich man who owns her. The understanding is intuitive. Just like Wendy's bond with Lucy,  the two don't need words to understand the comfort they give each other.

If you are making a movie about food, even partially, it's important that the food looks appetizing.  Cookie and Lu's trademark dish are oily cakes: Fried batter topped with cinnamon and honey. It's a simple enough recipe but, goodness, does it ever look tasty. Yet the film doesn't linger on its appealing snack just because it looks good. As their customer bite into the warm food, they note how it reminds them of the simple meals they had in their childhood. The stuff their moms use to make. Food is nostalgic. It links us with happier, easier times that we've experienced in our past. “First Cow” recognizes the power of food to connect people.

“First Cow” also sees Reichardt returning to “Meek's Cutoff” territory, in making a period piece from America's frontier days. Yet you wouldn't exactly describe the film as a traditional western either. Not just because it's wet, lush Pacific Northwest setting is so different from the dusty plains we usually see in this genre. Also because Reichardt depicts a past different from what we usually see in the lily-white western. Lu is Chinese, obviously. While visiting the rich chief's house, we see a group of Native Americans joining him. There are accents of many different types in this setting. This west is full of dusty, lived-in, and natural seeming homes that aren't exactly comfortable but provide shelter. “First Cow” depicts a more culturally diverse and down-to-Earth past, that is probably closer to reality than the sanitized version we usually see.

Once again, Kelly Reichardt foregoes a known movie star to play the main role in “First Cow.” John Magaro, an actor best known for various television roles and stage work, plays Cookie. Magaro has a quiet confidence in the role. He speaks calmly, rarely raising his voice above a whisper. Yet the audience always clearly understands where he comes from. You can see it in his eyes, in his posture. You're lucky when you can find an easily appealing actor like that. Magaro makes an easily watched star, someone you enjoy spending time with.

Co-starring alongside Magaro – as “First Cow” really is a two-hander between the two men – is Orion Lee. As Lu, Orion Lee speaks calmly but always makes himself understood. He observes the word and sees the truth around him. As with Magaro, Lee does not give a showy or overly self-conscious performance. Yet he speaks volume with a simple nod or a quiet turn-of-phrase. As the more active of the two men, Lee probably makes an even bigger impression on the viewer than Magaro does. Lee has appeared in some huge movies, though usually in small parts, so he probably has a good career ahead of him.

The most recognizable faces in “First Cow” are in the supporting cast. Toby Jones, with his erudite turn-of-phrase, could not be more perfectly cast as Chief Factor, the rich man who owns the cow and eventually turns into the film's antagonist. It's notable that Jones adds enough depth to the role to prevent the guy from coming off as nothing but a heartless aristocrat, even if that's basically what he's playing. Ewen Bremner has a memorably loud role as – what else? – an energetic and slightly unhinged Scotsman. Scott Shepherd is well utilized as the Captain, another authority figure determined to keep the characters in their place. Reichardt also throws in cameos from some of her regulars, with Alia Shawkat and Rene Auberjonis having bit parts.

Considered the animal on the poster and the forested location, you'd expect “First Cow” to look like Reichardt's other movies. By which I mean, you'd expect lots of shots of people walking through tree-filled natural vistas. Yeah, there definitely is some of that in the film, the warm, autumnal colors really popping in the last third. Surprisingly, the movie that “First Cow” most resembles visually is “Night Moves.” It's a more intimate affair, focused on the cast member's faces and the cramped interior locations they inhabit. Amusingly, Reichardt even zooms in on the face of Evie the Cow during the milking scenes, which feel as much like cozy conversations as any other of the other discussions in the film.

“First Cow” didn't work for me as well as some of Reichardt's other films. In its last act, it meanders somewhat aimlessly towards a typically blunt conclusion that, admittedly, works pretty well. Still, the film is highly likable and continues the clear interests and fascinations that the director has shown in the past. It's been warmly received by critics, earning some of the best reviews of the year. There's even been talks of Oscar buzz. Normally, I wouldn't expect a low-key film like “First Cow” to appeal to the Academy but, considering how weird award season is going to look next year, I guess we'll find out. [Grade: B]

Heading into this Director Report Card, I considered myself touch-and-go on Kelly Reichardt. I found some of her films brilliant, while others struck me as painfully slow. Watching all her stuff in the context of her whole career, even her more slow-paced features work better for me. Reichardt's definitely has a style, that's not for sleepy or hyperactive watchers. But sometimes you really do just want to see some people quietly wandering through a forest, ya know? Just reflecting on life and stuff. She has yet to make a bad film and, considering her valued position in the current independent film landscape, I imagine she'll probably get to make more. As always, thanks for reading.