FIRST COW

US, 2000, 121 minutes, Colour.
John Magaro, Orion Lee, Toby Jones, Ewan Bremner, Scott Shepherd, Gary Farmer, Lily Gladstone, Alia Shawkat, René Auberjonois.
Directed by Kelly Reichardt.

Certainly a striking title – and, perhaps, one that would not entice audiences into the cinema.

Kelly Reichardt has been making arresting independent films, small budget, since the early 2000s, Wendy and Lucy, Night Moves with its environmental campaign theme. She has also been into the American West, with the pioneers to Oregon, in her award-winning Meek’s Cut-off. Most of her films have featured women in central roles. This time, not.

But, again, it is a view of the American West, of pioneers and settlers. The setting is Oregon.

However, the film opens in the 21st-century, a young woman beside a river, huge ships passing by, her fossicking in the land with her dog and the discovery of two skeletons.

The film does not have 21st-century investigation but, rather, goes back to the 19th century in flashback. There are two men involved in this tale. The first introduced is Cookie, John Magaro, coming from Boston but moving west, on the hunt for meagre local food for an expedition. But what he does find hiding in the forest is a naked Chinese man, King Liu (Orion Lee). Cookie feeds him and King goes his own way.

Cookie returns to the camp and the arguments among the members of the expedition are reminders of the rugged life in the American West in those times.

However, the main action concerns life in the outpost town, Cookie and his survival and work, encountering King who has his own hut. The two become friends.

And, by this time, audiences may be wondering about not only the first cow any other cow. There has been a glimpse but then the cow disappeared. However, she is the property of an official, an Englishman, whose house and lifestyle is very much in the English manner. He is waiting for an opportunity for a bull to arrive.

Not so much drama for a catchy synopsis, but Cookie decides that he could make some scones if he had some milk. The result, he takes his stool to the owner’s property, milks the cow while King climbs up a tree as lookout. The scones are an immediate success, the men lining up to buy them, tasting them on the spot and eager for more. So, more are provided, more milk being taken from the cow – and we realise afterwards that the owner just assumed that she did not have much milk.

So entranced is he with scones and biscuits that he commissions a cake to be made for the arrival of a visiting ship’s captain. Great success with the cake.

However, there is retribution in every story and, of course, the milk stealers are discovered, chased by the owners personal militia as well as the ship’s captain.

And so, it is for the audience to wonder about what will happen to Cookie and King – because most of us know in our heart of hearts that they are the men who will become the two skeletons found at the opening of the film.

The two central characters are well acted and are engaging – and, as with the title, the film and its narrative are more than a little offbeat.

1. The director and her work, independent films, difficult stories, the American West?

2. Oregon, 21st-century opening, the field, the water and the large boats, the dog and finding the skeletons?

3. The transition to the 19th century, the expedition, Cookie and his story, background in Boston, collecting the mushrooms, looking for food, the camp, the men and their quarrels, hunger?

4. Finding King Lu, naked, Chinese, hiding, the background of the killing? His hunger, talking with Cookie, Cookie saving him?

5. The end of the expedition, Cookie and his staying at the outpost?

6. Encountering King again, the friendship, King’s hut, going to live there, companions, plans, business sense?

7. Life in the town, the range of character, the old man at his hut? The authorities, the mansion, the staff, the military? The British style?

8. The cow arriving, the story? By itself? In the field?

9. Cookie’s idea, looking the cow, King being the lookout in the tree, making the scones and cakes? Selling them? The popularity, the queues, the government, his liking the cakes? The captain coming, booking the cake? The blueberries?

10. The visit, the mansion, the Indian and his wife and their role in the house, the head’s wife, the captain and his arrival, the discussions, the cake, talking about the cow?

11. The couple being caught, leaving the stool, the captain and his pursuit, the military assistance, relentless? King going into the river? Cookie hiding, falling and hitting his head,
cared for by the Indian couple?

12. The search continuing, the ransacking of their hut?

13. Each of them returning, their stories, decision to go south?

14. Their being weary, Cookie and his head, their lying down for a rest – in the same positions as the initial skeletons?

15. An offbeat story of pioneers and pioneering in the 19th century American West, Oregon?