Orion Lee (left),and John Magaro in First Cow.Credit:A24 Films via AP
As he explains,America is the land of opportunity,but not for everyone. “It’s the getting started that’s the trouble. You need leverage. Or a crime.” Fate intervenes with the arrival of the literal “first cow” in the territory,the property of local bigwig Chief Factor (Toby Jones,the most Dickensian of living character actors).
Soon Cookie is sneaking out at night to milk the cow,Lu keeping watch from a nearby tree. This supplies the secret ingredient to the “oily cakes” which Cookie subsequently prepares,and which he and Lu peddle to hardbitten locals who melt at the first mouthful.
John Magaro as Cookie in First Cow.Credit:Allyson Riggs/A24
It’s a wonderfully neat concept,and Reichhart,often labelled a minimalist,has never been more assured as a storyteller. The narrative motor ofFirst Cowtakes some time to warm up,but eventually generates considerable suspense:as in all stories where the heroes succeed too quickly,we know the good times can’t last.
In the meantime,the measured pace leaves room for an abundance of period detail,framed in a clean,distinctive style. Reichhart employs the nearly square Academy aspect ratio,as Zack Snyder did recently in his radically expanded recut of his superhero blockbusterJustice League.
For both directors,the format advertises a certain archaism. But where Snyder leans towards expressionist bombast,Reichhart’s images have a matter-of-fact simplicity – few close-ups,little camera movement – almost worthy of the silent comedies of Buster Keaton.