Killers of the Flower Moon (2023)

 

Killers of the Flower Moon (2023)

Director: Martin Scorsese

Stars: Leonardo Dicaprio, Lily Gladstone, Robert De Niro

Short Review, no spoilers

Although unmistakeably Martin Scorsese in style, this is a distinctly serious film from the veteran director as he takes on a true story of outrageous injustice as visited on the Osage Indian community in 1920s Oklahoma. What is unusual about this as a Scorsese movie however, is that there is a love story at the heart of it. Not only that but it is a challenging, thoughtfully played out and well performed romance by stars Leonardo Dicaprio and Lily Gladstone.

An important and impressive film even if it does lag disappointingly at the end.

 

Full Review (spoilers)

Despite perhaps still being best known for his iconic gangster films, Martin Scorsese has actually taken on an eclectic range of subjects in his long career. The exploitation and murder of Native Americans in Killers of the Flower Moon is a daring one in that it is a conversation still not had often enough. However, it does suggest a continuation of Scorsese’s interest in early days white America-building as seen in Gangs of New York, delving in to pockets of the past with meticulous attention to detail to depict times that were brutal and morally conflicted – as if they were so different now … Both films also revolve around the story of a grapple for power headed up by white men that are sociopathic in their obsession to obtain it. Robert De Niro’s Bill Hail is in fact arguably more despicable than any of Scorsese’s mobsters to the point that his dastardly dealings almost make Henry Hill and co.’s look like scampish antics.

Although Scorsese once again casts A-list muse Leonardo Dicaprio in the lead role, his is one half of a relatively unglamorous couple as far as Hollywood goes, with Dicaprio playing an uncharacteristically dumbed down doof, while Lily Gladstone is a beauty of the natural kind as well as the very image of serene stoicism. The matching up of Earnest and Molly is curiously endearing and Gladstone makes it believable that she would fall for such a dumbass who, in spite of his clumsy ways has a certain cheeky charm that she can’t help falling for. Although cinemagoers might see an uglified Dicaprio, Molly sees a handsome man and their relationship comes together in convincing fashion, even as Earnest would appear to be punching way above his weight. Dicaprio often plays chilly, intense men but the warmth drawn out in this unusual role for him is an interesting diversion and aided in no small part from co-star Gladstone.

Not for the first time, Scorsese presents us with a complex anti-hero but Earnest has got to be one of the most challenging to sympathise with. Herein lies the brilliance of how he is depicted however. Even mugging, grave-robbing, assisting in murders (including those of Molly’s entire family), as well as poisoning the wife he apparently loves, you still get the sense that he doesn’t fully comprehend what it is that he himself is doing, that he really is that dumb. All of it is orchestrated by his uncle, Bill Hail, but it just goes to show that the stupid man is as dangerous as the man who manipulates him. As wholly depressing as it is, it is important to bear witness to Hail’s utter lack of morality, as he kills and keeps alive to suit his purposes rampantly and with a disturbingly pure sense of entitlement. As is his way, Scorsese pulls no punches when it comes to the casually inflicted violence that certain men are capable of.

Once established, dramatic tension is built when threats to Hail’s stranglehold begin to emerge. There’s the seemingly insipid Bill Smith, a ‘rabbit’ in the eyes of his wife, and whose own moral judgement is somewhat in question after he quietly marries her sister soon after the death of said wife. He is surprisingly intrepid however in investigating the growing number of murders among Osage natives, and goes on to demonstrate boldness in the face of a sneering Earnest. The double murder of Smith and his wife is nasty but at least is a significant contribution to the mounting evidence when Hail’s schemes begin to crumble. Other members of the town begin to show resistance also – when a ‘suicide’ goes wrong and Hail tries to implicate a local shopkeeper by encouraging him to run from suspicious law enforcement, the man calmly declares that he’s staying put and that he is no friend of Hail’s. Following a visit to Washington, it seems that the efforts of Molly and the Osage elders to request help have been futile until a team of the newly born FBI assisted by a charismatic Indian from another tribe turn up to investigate. Scorsese carefully and intelligently skirts a patronising white man saviour narrative though by portraying the agents as dry and seemingly benign professionals rather than glorified heroes. This also serves as a pleasing contrast with the visible panic in Hail and Earnest as they gradually get their comeuppance. However, just as the tide is beginning to turn, the brakes are put on for some reason and the action begins to grind at a frustratingly slow pace. Points are laboured and needlessly spelled out, and Earnest’s interrogation scene is inexplicably lengthy just as things should be gathering pace. After a time, the film picks up slightly and interest is maintained by seeing just how much the marvel that is Molly will forgive.

Despite the flabby ending, Killers of the Flower Moon is an admirable and compelling film and a welcome addition to the still too few stories that address ongoing Native American injustice. On a side note that is worthy of mention, it features the last (and best?) soundtrack by long time Scorsese collaborator Robbie Robertson before his death very shortly before the film’s release. It literally provides the heartbeat of the film, realised so well perhaps because of the personal investment Robertson had in the project. Of Native American descent himself, Robertson had spoken of his delight at Scorsese’s decision to explore the subject, and his creation of a mix of bluegrass and un-cliched Native American sounds is masterful throughout. A highlight of artistic unity is the moment early on when young male Osage Indians dance in a well spring of black oil to a thumping tribal drum beat and wry electric guitar riff.  It’s a moment of celebration pitch perfectly attuned to the original master of dark coolness in the context of archly ironic social context.