When it comes to brutality, Killers of the Flower Moon is no holds barred. Over the course of 206 minutes that leave you dwelling on its cruelty like few other films ever do, it recounts several dozens of murders. And in what can be likened to a cold-blooded vision, Martin Scorsese and screenwriter Eric Roth spin the fine details of David Grann’s journalistic non-fiction into weaves and textures but keep their sights on a poisonous love affair against an ice-like picture of genocide towards Native Americans.
Robert De Niro and Leonardo DiCaprio are united once again but this time in one of Scorsese’s films which ensures that the film has a lot of star power. However, Lily Gladstone steals the show as Mollie Burkhart, a wealthy Osage woman who falls for DiCaprio’s chauffeur until she begins to witness her family wither away slowly together with her culture. Gladstone gives an amazing performance starting off very affectionate and self-assured – but that halo slips away like life were being sucked out of her body bit by bit as well as from her eyes.
Killers of the Flower Moon is about dozens Oklahoma murders over years in 1920s where all victims hailed from or had links to oil-rich indigenous communities whose wealth was placed under white “guardians” selected by US government – although murders did not receive significant attention initially. But unlike Grann who held his cards close to his chest until later when he gradually revealed those bumbling (but truly cruel) culprits alongside their ways when Bureau of Investigation (the FBI forerunner) started piecing them together; instead, Scorsese/Roth portray these particulars right away thereby making this grand conspiracy look both stunningly and ridiculously blatant at once. The author claims that many white men at that time didn’t even consider killing Indians as murder – just animal cruelty. When Tom White, a Bureau detective played by Jesse Plemmons, first appears on the scene of events, there is hardly anything for him except to seek confessions from people who seem to have already known everything.
This is a murder mystery narrated from the standpoint of killers and packs an overwhelming emotional punch primarily due to its participants who are not shy about openly murdering those they regard as subhuman – all in the name of profit – with their hands full of authority and financial power. In this regard, Killers of the Flower Moon also serves as another instance (and quite refined metaphor) of America’s original sin: Native population oppression throughout decades plus a little cool bloodshed here and there.
However, the Osage characters are not displayed as mere sympathetic victims. They take a back seat to DeNiro’s and DiCaprio’s diabolical characters as far as screen time is concerned who hide behind their friendship to the Osage. DiCaprio depicts Ernest, the enthusiastic underling whose pleasant personality fades away into complicity while his supposedly benevolent uncle (played by DeNiro) who is not exactly like that but rather a cunning rancher and business tycoon named William Hale referred to himself audaciously as “The King of the Osage Hills.” However, it is through Killers of the Flower Moon’s Osage perspective that it succeeds. The script for this film underwent a major overhaul with heavy assistance from Osages – which can be easily seen – so in addition to all sorts of brutality inflicted upon them, this tale also gives an overview about their entire culture including practices relating to birth, death, marriage etc. These fully-formed Osages include everything from traditional respectfulness and tribal gatherings right up to gossiping and playful interactions.Moreover, we get a sharp sense of whom and what was lost.
Despite being set in 1920s America, Killers of the Flower Moon doubles up as a reflexive Western film; Rodrigo Prieto’s photographic landscape vistas on one hand and constant musical suggestions from Robbie Robertson on another constantly reminding us about genre. The conspiracy has its many perpetrators laid out according to typical behaviour in Western films and classic mob movies too; they are outlaws wearing black hats perpetrating crime yet cannot be apprehended trying something different(though shamelessly open). With Hollywood so long having still seen Native American “savages” terrorizing hapless whites until quite recently here Scorsese reverses roles; real history intertwines with fictional events helping him make his point.
What keeps it interesting even though it is prolonged is how fast-paced Killers of the Flower Moon is, with Scorsese’s flowing camera work, Thelma Schoonmaker’s energizing editing and both combined harmoniously. The film may be serious but it is a Scorsese film with numerous supporting roles cast by famous actors like Brendan Fraser and John Lithgow and has snappy dialogue scenes that made every plan and plot look like one from Goodfellas. It is disarming fun but knows exactly when and how to jerk you out of the comfort of your seat and into the reality of cinema-watching – jolting reminders of brutality being around the corner (or within shot).
Nonetheless, the book’s most captivating sections are those that highlight the authentic love story of Mollie and Ernest. The novel is also focused on their romantic relationship, which is presented in various dimensions. However, given this dismal situation (and Ernest’s association with illegal characters), nearly everything about this prime narrative becomes doubtful. It is a companionable feeling to have for a person who has been through so much with her. Behind all the bloody violence lies an uncertainty whose source can be traced back to our own beings as well as Mollie’s mind whether Earnest is real or his love was phony.
Can he be trusted, let alone redeemed, when his actions are just what Hannah Arendt referred to as “the banality of evil” – the Holocaust? As both Mollie and audiences wonder if a man like Ernest can ever truly exist.
In place of revealing the killers’ identities from the beginning until their arrest at the end of story, Killers of the Flower Moon surfaces Serious doubts over its morality and complicity urging us in Mollie’s perspective, thus concluding by bringing forward an emotionally upsetting payoff. This movie goes on a bit too long with focus on how serious Ernest took his actions though it stays thrilling even when like Billy it may lose some viewers during moments whenever it seems daringly confident about itself and its achievements in filmography. Yet Scorsese goes for finality instead of emotional resolution despite offering closure regarding plot direction which mischievously argues for stillness before referring to retrograde tendencies of violence that never grow obsolete even today.
Like life for Natives portrayed in this work there are caveats even in its most vigorous scenes.The main street behind every American town has become Main Street again.”.
The Verdict
The Killers of Flower Moon also portrays accurately Osage tribe similarly to its original book title; it tells true story about horrific killing spree against them in 1920s and life of Mollie Burkhart, the sole survivor. As a result, Lily Gladstone was cast as Molly, which she played with all her innocent love and furious anger that will surely make her Hollywood’s most wanted star; moreover, she acted together with De Niro and DiCaprio who both portrayed men whose kindness is mixed with coldness. Such kind of movies like this one are the bloodiest creations that Scorsese has done in his lifetime but also they happen to be very cerebral containing for instance this subversive murder “mystery” which leaves no question behind except one. What in the world will human beings not do out of greed?
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