Cinema for Brunch KILLERS OF THE FLOWER MOON Review

Director Martin Scorsese swings for the fences in the tragedy epic “Killers of the Flowers Moon,” bolstered by strong, heartbreaking performances and an engaging, complex scope.

Synopsis

In the 1920s, members of the Osage Native American tribe of Osage County, Oklahoma, are murdered after oil is found on their land, and the FBI decides to investigate.

Review
For such a long, diverse career in filmmaking, Martin Scorsese’s legacy with most moviegoers seems to be relegated to popular Mob films such as “Goodfellas” and “Casino”. Cinephiles of course know better and can reference more than “Taxi Driver” and “Raging Bull” as non-mob related Scorsese gems. But even still, it’s a shame that such a diverse filmography gets recognized for its more shockingly violent selections. “Killers of the Flowers Moon”, Scorsese’s newest picture, no doubt has its violent moments but the violence here is more heartbreakingly cold and piercing rather than a plot device that permeates the whole film. “Killers” revolves around the story of the Osage Nation who came upon an oil fortune at the turn of the 20th century which brought white Americans to their land with malicious intent and greed in their eyes, and with time, murders began to pile up. At the center of the story are three key players – Ernest Burkhart (Leonardo DiCaprio), a war veteran arriving to the Osage land to work for his uncle; his uncle, William King Hale (Robert De Niro), a respected and feared sheriff of Osage County, Oklahoma; and Mollie Burkhart (Lily Gladstone), the eventual wife to Ernest and a native whose family’s inheritance is one for ripe plucking and despicable theft.

In regards to the sprawling story at hand, Scorsese keeps these three players in center focus with simple but weighty characterizations. The pathetic fool (Ernest), the cold tyrant (William) and the graceful, marginalized warrior (Mollie). Most of the film, as per the course for Scorsese narratives, is seen through the POV of the culprits themselves – the tyrant and his fool. It’s made obvious to the audience not 30 minutes in or so that William Hale and his family intend to kill off (and marry) as many wealthy Osage people as they can to get their hands on the inheritance. Cold, jarring shots of assassinations are sprinkled throughout as the despicable family plots their control of the Osage land as well as their money. However, as we follow William and Ernest through their twisted game of “Divide and Conquer” (soon to be fallen by pride and, well, stupidity), we are also given a lens to Mollie Burkhart who provides an interior monologue throughout the film. She keeps a watchful eye about her, knowing that there are interlopers and manipulators around her, even suspecting her husband could be one of them (regardless of the fact that she loves him). It’s this complex network of family and marriage that serves as the crux and soul of “Killers”. While 2 out of the 3 central characters are on the side of real-life “villains”, Scorsese doesn’t let these characters hijack the film and makes sure to give ample voice to the Osage people, especially through the voice of Mollie, the film’s “hero”.

In a recent interview with Letterboxd, Scorsese’s longtime editor Thelma Schoonmaker stated that the violence in this film is different from other Scorsese films. Shown in a wide shot rather than a close shot, the scenes of murder are shown in a cold view, but respectfully. Not in a glamorized way like the filmmaker’s former classics “Goodfellas” and “Casino”, not pervading the screen in all its blood glory but rather depicting the act of murder with an anthropologic-like hand. Think for instance about the way David Fincher presents violence in a film like “Zodiac” – it’s technical, not glorifying but technical and realistic. This is the oddly respectful way Scorsese approaches his direction of violence in this film and the work of art is served better for it because it doesn’t fall into the trap of having oddly jarring tones. As for the long-discussed runtime however, “Killers” is a very engaging 206 minutes….but it’s still 206 minutes too long. Now, I’m not a director nor am I an editor. Every moment in this film is either an engaging, interesting, heartbreaking, intense or even slightly humorous moment. But as a whole, a massive story like this does introduce a couple side plots that could’ve been left on the cutting room floor without ruining the integrity of the film. Eric Roth and Martin Scorsese have concocted a terrific script that fully explains this complicated, infuriating true story and has told the complexities of it to full effect so that’s something that can’t be overexpressed. However, the runtime is essentially a painpoint for whoever doesn’t have the patience to sit through a 206-minute film such as this, regardless if it keeps their attention.

Great storytelling aside, one of the key elements that keeps one’s attention through the three hour-plus runtime is the superb acting from its key players. DiCaprio delivers his finest performances in recent years in the role of Ernest Burkhart, the pathetic fool that doesn’t fully understand the weight nor consequences of his actions until it’s too late. Always delivering a home run once given the right character-driven role (see: Don’t Look Up), in Ernest, DiCaprio concocts the perfect stance, southern drawl and slack facial expression – all the right nuances to create the doomed enigma that is his character. On to De Niro, another longtime collaborator of Scorsese’s, who provides much despicable gravitas to the villainous role of Hale. He expertly navigates the moments of supposed tenderness and empathy his character provides in the public eye and the malicious plotting and racist ideologies he practices behind the curtain. A complex role would be in dire hands of a lesser actor but De Niro is right at home to work his thespian magic with such a fierce role. Then we have Scorsese newcomer Lily Gladstone who steals the show (to say the least) as graceful and watchful Mollie. Gladstone brings a natural gracefulness and charm to the screen as her character bares her soul to the audience through strong interior monologue. On the outside, she delivers terrific work as her laconic dialogue and face speaks volumes as she witnesses the foul play and unfortunate death/murder around her. She carries great chemistry with DiCaprio as their romance blooms and also, serves as a well-created foil as the frayed strings in their marriage start to pull apart. All three performances are no doubt Oscar-worthy and are sure to keep people praising them for years after the film has been released. While everyone in this cast gives their all (who wouldn’t for Mr. Cinema himself, Marty), two other notable performances are those of Jesse Plemons and Brendan Fraser, respectfully as FBI agent Tom White and W. S. Hamilton, Hale’s lawyer. Plemons and Fraser give nice, understated performances, knowing when to let their roles shine without taking the spotlight from the main players.

Closing Thoughts
“Killers of the Flower Moon” is a poetic, heartbreaking tragedy epic. A fine piece of art for Scorsese’s later years as a storyteller, while its runtime may be a tad criticized or judged, there isn’t much here frame-wise that is wasted. Even the side plot points carry weight to their purpose in regards to the picture as a whole. Scorsese presents a complex story of American sin and greed mixed with native grace and power. From its opening lamentation of Westernized values taking over the world of future generations to its poetic, final crane shot of a funeral, Scorsese presents this personal story with wide scope and respectful tenderness.

Trailer