November 26, 2023
FILM: KILLERS OF THE FLOWER MOON
DIRECTED BY: MARTIN SCORSESE
STARRING: LEONARDO DICAPRIO, ROBERT DE NIRO, LILY GLADSTONE
RATING: 4 out of 4 stars
By Dan Pal
Settle in for an epic. This is director Martin Scorsese working at his highest level in size, scope, and story. At three and a half hours long, Killers of the Flower Moon is filled with beauty, drama, incredible sadness, and outstanding performances. Scorsese teams his two favorite actors, Robert De Niro and Leonardo DiCaprio as uncle and nephew respectively living among the Osage Nation in Oklahoma a century ago. What these characters attempt to accomplish threatens an entire non-White, local population.
The film begins when oil is discovered on the land of the Osage making it, at the time, the richest area per capita in the United States. Jumping ahead chronologically a bit, its people are now wealthy with their share of property and servants. De Niro plays William Hale who is friendly with the locals but seems to have bigger plans to overtake their resources. Ernest Burkhart, DiCaprio, arrives in town after having spent time in the military. Working as a cab driver he begins to take local Osage native Mollie around town and develops a strong connection to her. Hale hatches a plan that partially involves getting the two of them to marry so that eventually his family will inherit the wealth Mollie and her sisters possess. One by one they mysteriously die. Eventually the FBI, led by Tom White (Jesse Plemons), arrives to investigate the murders.
Since DiCaprio and De Niro are front and center in the film, their performances are crucial to the film’s success and they succeed at every level. DiCaprio effortlessly balances a line that demonstrates Burkhart’s loyalty towards Hale and his tender love towards Mollie. Whether the character is genuine in that love is another matter. He must also depict the character’s naiveté, gullibility, and imposed immorality. De Niro, as Hale, represents the head of a white southern patriarchy who has to himself balance a questionable devotion to the Osage while secretly hatching his own plans for their money. Scorsese directs just enough grey in their performances that we can easily see how persuasive both characters are depending on who they are preying upon. The scenes between the actors are master classes in acting and dialogue construction.
What is so interesting about the film is how it explores a particular era in Native American history. It’s very clear that Scorsese’s larger agenda here is to paint a portrait of how white America attempted to overtake the customs, history, and wealth of the people by infiltrating their world with money, “real medicine,” and new ideas. When Mollie becomes involved with Burkhart, her mother notes sadly that Mollie’s “blood is getting white.” Is her diabetic condition a result of the White man’s diet? Another character says people equal money in this new era. Therefore, the connection between the Whites and the Osage is highly dubious from the start. There are also references to the massacre of “Little Africa” in nearby Tulsa which essentially wiped out an entire community of thriving Black Americans. White men run the court system, the FBI, and the health care system. The Osage Nation customs are almost non-existent by this point. The film does show some, if not enough, of its members fighting for their rights both in and outside of these systems.
The production design of the film is outstanding with the settings, costumes, and means of transportation expertly capturing the era. Cinematography also stands out providing long and aerial shots of the expansive land while also zeroing in on the subtle reactions given by Lily Gladstone as Mollie that express her own conflicted inner thoughts.
The length of the film feels necessary as Scorsese’s three-time Oscar winning editor Thelma Schoonmaker manages to move the narrative along briskly. Scenes never overstay their welcome and there is a strong sense present of the necessity of each.
There has been some criticism of the film since it’s theatrical release that perhaps Scorsese didn’t go far enough in depicting the true world and characters of the Osage while overemphasizing the White man’s perspective. Perhaps we should see more of the Osage Nation’s own perspectives and customs. It is suggested that the film could also examine the U.S. government’s own lack of involvement in the atrocities committed against tribes such as the Osage. All of these are very valid points. There are definitely more such stories that need to be told. For now, I believe Scorsese has taken a step in raising our consciousness toward an entire people whose way of life was often usurped by White power. The fact that Scorsese created this story (which is based on a novel) in consultation with the descendants of the Osage and actual real-life characters the story is based on suggests at least a first attempt to clarify and express part of this history that has been sorely lacking in most of our media representations of Native Americans.
Killers of the Flower Moon is currently playing in theaters everywhere. If you must wait for it to play at home never fear, it will be coming to AppleTV+ by the end of December.
FILM: KILLERS OF THE FLOWER MOON
DIRECTED BY: MARTIN SCORSESE
STARRING: LEONARDO DICAPRIO, ROBERT DE NIRO, LILY GLADSTONE
RATING: 4 out of 4 stars
By Dan Pal
Settle in for an epic. This is director Martin Scorsese working at his highest level in size, scope, and story. At three and a half hours long, Killers of the Flower Moon is filled with beauty, drama, incredible sadness, and outstanding performances. Scorsese teams his two favorite actors, Robert De Niro and Leonardo DiCaprio as uncle and nephew respectively living among the Osage Nation in Oklahoma a century ago. What these characters attempt to accomplish threatens an entire non-White, local population.
The film begins when oil is discovered on the land of the Osage making it, at the time, the richest area per capita in the United States. Jumping ahead chronologically a bit, its people are now wealthy with their share of property and servants. De Niro plays William Hale who is friendly with the locals but seems to have bigger plans to overtake their resources. Ernest Burkhart, DiCaprio, arrives in town after having spent time in the military. Working as a cab driver he begins to take local Osage native Mollie around town and develops a strong connection to her. Hale hatches a plan that partially involves getting the two of them to marry so that eventually his family will inherit the wealth Mollie and her sisters possess. One by one they mysteriously die. Eventually the FBI, led by Tom White (Jesse Plemons), arrives to investigate the murders.
Since DiCaprio and De Niro are front and center in the film, their performances are crucial to the film’s success and they succeed at every level. DiCaprio effortlessly balances a line that demonstrates Burkhart’s loyalty towards Hale and his tender love towards Mollie. Whether the character is genuine in that love is another matter. He must also depict the character’s naiveté, gullibility, and imposed immorality. De Niro, as Hale, represents the head of a white southern patriarchy who has to himself balance a questionable devotion to the Osage while secretly hatching his own plans for their money. Scorsese directs just enough grey in their performances that we can easily see how persuasive both characters are depending on who they are preying upon. The scenes between the actors are master classes in acting and dialogue construction.
What is so interesting about the film is how it explores a particular era in Native American history. It’s very clear that Scorsese’s larger agenda here is to paint a portrait of how white America attempted to overtake the customs, history, and wealth of the people by infiltrating their world with money, “real medicine,” and new ideas. When Mollie becomes involved with Burkhart, her mother notes sadly that Mollie’s “blood is getting white.” Is her diabetic condition a result of the White man’s diet? Another character says people equal money in this new era. Therefore, the connection between the Whites and the Osage is highly dubious from the start. There are also references to the massacre of “Little Africa” in nearby Tulsa which essentially wiped out an entire community of thriving Black Americans. White men run the court system, the FBI, and the health care system. The Osage Nation customs are almost non-existent by this point. The film does show some, if not enough, of its members fighting for their rights both in and outside of these systems.
The production design of the film is outstanding with the settings, costumes, and means of transportation expertly capturing the era. Cinematography also stands out providing long and aerial shots of the expansive land while also zeroing in on the subtle reactions given by Lily Gladstone as Mollie that express her own conflicted inner thoughts.
The length of the film feels necessary as Scorsese’s three-time Oscar winning editor Thelma Schoonmaker manages to move the narrative along briskly. Scenes never overstay their welcome and there is a strong sense present of the necessity of each.
There has been some criticism of the film since it’s theatrical release that perhaps Scorsese didn’t go far enough in depicting the true world and characters of the Osage while overemphasizing the White man’s perspective. Perhaps we should see more of the Osage Nation’s own perspectives and customs. It is suggested that the film could also examine the U.S. government’s own lack of involvement in the atrocities committed against tribes such as the Osage. All of these are very valid points. There are definitely more such stories that need to be told. For now, I believe Scorsese has taken a step in raising our consciousness toward an entire people whose way of life was often usurped by White power. The fact that Scorsese created this story (which is based on a novel) in consultation with the descendants of the Osage and actual real-life characters the story is based on suggests at least a first attempt to clarify and express part of this history that has been sorely lacking in most of our media representations of Native Americans.
Killers of the Flower Moon is currently playing in theaters everywhere. If you must wait for it to play at home never fear, it will be coming to AppleTV+ by the end of December.