Killers of the Flower Moon (2023) Paramount/Drama RT: 206 minutes Rated R (violence, some grisly images, language) Director: Martin Scorsese Screenplay: Eric Roth and Martin Scorsese Music: Robbie Robertson Cinematography: Rodrigo Prieto Release date: October 20, 2023 (US) Cast: Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Tantoo Cardinal, John Lithgow, Brendan Fraser, Cara Jade Myers, JaNae Collins, Jillian Dion, Jason Isbell, William Belleau, Louis Cancelmi, Scott Shepherd, Everett Waller, Talee Redcorn, Yancey Red Corn, Tatanka Means, Tommy Schultz, Sturgill Simpson, Ty Mitchell, Gary Basaraba, Charlie Musselwhite, Pat Healy, Steve Witting, Stev Routman, Michael Abbott Jr., Pete Yorn, Larry Sellers, Barry Corbin, Steve Eastin, Katherine Willis, Delani Sue Chambers. Box Office: $68M (US)/$157M (World)
Rating: ****
The historical true crime drama Killers of the Flower Moon is every bit the epic, both in scope and in length. At nearly three and a half hours, viewers might be tempted to wait until it hits streaming to see it. Heed my words, DON’T DO IT! You’d just be depriving yourself of a true cinematic masterpiece that absolutely deserves to be seen on the big screen. In addition, it’s so compelling throughout, you’ll hardly notice the running time. I dare say you won’t notice it at all.
Based on the non-fiction book by David Grann, Killers of the Flower Moon is another triumph for Martin Scorsese. I expected as much since the acclaimed director of Taxi Driver, Raging Bull and Goodfellas is seemingly incapable of making a bad movie (with the sole exception of the dull Silence). True, I’ve liked some of his films less than others (Bringing Out the Dead comes to mind), but he brings this energy to his films (except Silence) that keeps the viewer involved. That energy is on full display on his most ambitious film to date.
The subject matter this time isn’t the Mafia, but a different kind of organized crime. The film centers on a series of murders that took place in Oklahoma in the 1920s. After oil is discovered on tribal land, the Osage tribe becomes the wealthiest group of people in the country. Naturally, this doesn’t set well with the white people in the area, mainly William King Hale (De Niro), a greedy cattle baron who makes Gordon Gekko look like a humanitarian. He presents himself as a benevolent sort who loves his Native American neighbors, but nothing could be further from the truth. He means to exploit them for his own financial gain. He has no qualms about having them murdered to achieve this goal. This SOB is evil to the core.
King, as he likes to be called, brings his nephew Ernest (DiCaprio) to the town of Fairfax to join the family business so to speak. A basically decent albeit not very bright WWI vet, he’s easy prey for a predator like his uncle. He gets a job as a cab driver where he meets Mollie (Gladstone, Certain Women), an Osage woman from a wealthy family. They fall in love and get married. King likes the idea because the marriage could work to his advantage. If Mollie’s sisters and mother die, she inherits everything. Then if Mollie dies, Ernest gets it all. Many people die before the authorities finally take interest.
That’s a general overview of Killers of the Flower Moon. A lot happens and all of it is fascinating. Marty does more than tell another story of historical injustice. He shows us the role it played in shaping this country. The violence perpetrated against the Native Americans is part of a larger narrative that includes horrific events like the Tulsa Massacre which decimated an affluent district referred to the “Black Wall Street”. This occurred around the same time as the Osage murders, none of which were investigated until the BOI (precursor of the FBI) showed up and started asking questions.
Marty also paints a portrait of greed and its corruptive nature. Through King, Ernest and their less than upstanding associates, we see how insidious it is. King, in particular, is positively cancerous. De Niro adds another Oscar-worthy performance to his resume as the type of man who will look you right in the eye as he stabs you in the back. He’s all smiles and kind words with the Osage people, even speaking their language, but his intentions are pure evil. The way he orders the murders of the men who committed the murders on his orders is just cold.
DiCaprio is also great as Ernest, a young man manipulated into committing horrible acts including poisoning his sickly wife with spiked insulin (she’s a diabetic). He’s instrumental in several killings including that of Mollie’s first husband (Belleau, The English). He works very well with De Niro, an actor he previously worked with in 1993’s This Boy’s Life. They have amazing chemistry, one might even say combustible. The real stand-out, however, is Gladstone. I can definitely see her winning the Oscar for Best Supporting Actress. She’s not just a mere symbol of the suffering of all Indigenous people. She’s a strong, proud Native American woman. Gladstone plays Mollie in the moment rather than a character aware of the role she will play in history. She keeps it humble without even a hint of self-importance. It’s an amazing performance.
The whole cast of Killers of the Flower Moon is terrific. Jesse Plemons (The Irishman) is great as the lead BOI agent on the case. John Lithgow (Cliffhanger) and Brendan Fraser (The Whale) are also good as lawyers on opposite sides of the case against King. Tantoo Cardinal (Wind River) has some great scenes as Mollie’s ailing mother. I could go on and on about this, but I’ll leave it at this. Marty cast his film very well.
Everything about Killers of the Flower Moon is right on point. Rodrigo Prieto knows when to be sweeping (capturing the vast Osage territories) and when to tighten the shot. Scorsese regular Thelma Schoonmaker’s flawless editing helps propel the multi-year saga forward with real momentum. The late Robbie Robertson (the film is dedicated to him) contributes a minimalist score that accomplishes more than a dramatic orchestral one would. It goes without saying that the writing and directing are absolutely perfect.
Killers of the Flower Moon is one of the best films of the year if not the best. It’s that rare film that earns the right to be regarded as cinema. It left me feeling like I actually saw a film. No, make that experienced a film. It drew me right in and didn’t let go until the end credits. That doesn’t happen much anymore. Thank you, Marty!
