by Martin Scorsese Flower Moon Killer is a companion to best friend EQUAL The departed is – despite dealing with a type of gangster that America has long refused to confront, an organized attempt to steal and kill its own natives for money.
In 1894, oil was discovered on land belonging to the Osage Nation. They secured ownership of mineral rights and became the richest people per capita on Earth. Then the wolves came. At the dawn of a new century, and during what became known as the Reign of Terror, dozens of Osages were murdered, their share of the oil rights inherited by their dead white accomplices. kiss their family. Flower Moon Killer focuses on one such individual, Leonardo DiCaprio’s Ernest Burkhart, who traveled to Fairfax, Oklahoma, and married Mollie Kyle (Lily Gladstone) at the behest of his uncle, William Hale (Robert De Niro).
Scorsese considers this his first Western film, but it carries with it his traditional preconceptions: the rotten core of the human heart; how force creates impulses for destruction; legends about cowboys and outlaws and the dirty truth to them. Hale, who mistook strength for wisdom, declares fate that the Osage Nation’s days are over. “This wealth will run out,” he told Ernest. “They are kind-hearted, but sickly people.”
An abrupt, destabilizing cut at the end of the scene — with the help of Thelma Schoonmaker, the longtime editor responsible for so much of Scorsese’s electrification push — leaves us confronted with the violence of those words. An Osage man is seen dying, lying on the floor and suffocating from the poison. Scorsese was never one to consciously set her own moral boundaries; he is simply a director who tells stories with such deep care and empathy that the barbarity of these crimes leaves its own stench.
When Scorsese began adapting David Grann’s 2017 non-fiction book about the Osage murders, he and screenwriter Eric Roth initially shifted the focus of Grann: Tom White, the FBI agent tasked by J Edgar Hoover solve the case. But that, Scorsese realized, would make someone unworthy a hero. While Jesse Plemons creates a stoic White in the film, the focus of the film remains on Mollie and Ernest, who are said to have fallen in love despite everything – that’s the kind of love that sparks good in Ernest, but failed to protect Mollie.
DiCaprio, with his mouth full of rotten teeth, brings us to a man who is loving, weak and evil in the depths of his soul, a man whose cheeks twitch when he lies, and his body collapses. for sin faster than any poison. But it is Gladstone that is the focus of the film. She delivered one of the most extraordinary performances by a woman in any Scorsese film. She is serene but not holy; a tragic image with fire in the stomach. The first time we dive into Mollie’s perspective, it’s with a force that can suck the breath out of your body. The eyes of the white men and women around her were filled with disgust. She knows all about the future that is headed for her.
Flower Moon Killer, despite the significant presence of DiCaprio and De Niro, is ultimately framed around the perspective of the Osage Nation, who worked extensively in the production as a consultant, craftsman and actors (to be clear, Gladstone itself is not Osage but the legacy of Blackfeet and Nimiipuu). The film begins and ends with their ceremonies, its prologue adapted from the Osage by writer Charles H Red Corn. A pipeline for February. It even seems to give a warning to those who try to destroy them. In a key scene framed by the burning of farmland, Mollie says to Ernest, “You’re next.” In this quietly apocalyptic historical retelling, the destruction of white Americans will not end at its own borders – it will eventually destroy itself.
Directed by: Martin Scorsese. Actors: Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Tantoo Cardinal, Cara Jade Myers, JaNae Collins, Jillian Dion. 206 minutes.
‘Flower Moon Killer’ will be released on October 6, ahead of global streaming on Apple TV+