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Kἰllers of the Flower Moon Review: Scorsese Expanded the Story of America’s Gory Origins

Daniel Dale
killers of the flower moon

killers of the flower moon

Martin Scorsese directed and co-produced the 2023 American Western crἰminal drama film Kἰllers of the Flower Moon. He also co-wrote the script with Eric Roth, based on David Grann’s 2017 novel of the same name.

Based on David Grann’s best-selling nonfiction work, Martin Scorsese’s Western true-crἰme drama explores the US Osage kἰllings of the early 1920s. With co-writer Eric Roth, Scorsese creates an epic of existential horr∅r about the beginning of the American century, a macabre story of nearly genocidal serial crἰmes that mirror the more excellent extermination of Native Americans from the US. It brings the gaslit, deceitful marriage to the center of the story.

It is reminiscent of Scorsese’s previous works about gang warfare, gang loyalty, and the inevitable sellout to the federal government, whose own lousy faith gradually manifests. But ultimately, this movie is about what all Westerns are about—and arguably all of history—the ruthless grabbing for control of land, resources, and authority.

Lily Gladstone portrays Mollie Burkhart, a member of the Osage tribe who, like the rest of her people, has become surprisingly wealthy after the government granted the Osage permission to settle on what appeared to be stony and unproductive land in Oklahoma but turned out to have vast oil reserves.

However, they continue to be subject to a “guardianship” requirement that is both racist and infantilizing: Osage people require a white co-signer and use the money. Osage finally, Mollie and her family are very alarmed by the mystery sicknesses that have been wiping out Osage people individually. Later, the bodies of the Osage murdeɼ victims are discovered, including Mollie’s errant sister Anna whose autopsy is strangely performed outside, right there at the crἰme scene.

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Leonardo DiCaprio’s character Ernest, who is cunning and evil, enters the scene. Ernest is selfish, dim-witted, and easily bought. After serving in the First World War, he returned to the US. He arrives at the sizable estate of his wealthy uncle, who has offered him a job working alongside his stern brother Bryan, played by Scott Shepherd, who has become thoroughly ingrained in the violence and corruption the uncle presided over.

William Hale, a cattleman-plutocrat played by Robert De Niro, is a man of crystallized bitterness and self-importance who prides himself on his cordial relationships with the Osage people. To give him a legal claim on Mollie’s “headlights,” as her oil entitlements are known, Hale engages Ernest as his nebulous underling, courtier, and dirty-work factotum, and urges him to date and marry Mollie, whom Ernest has already met.

Thus, Ernest and Mollie’s tragic union begins, made more difficult by the terrifying anxieties of Mollie’s dying mother, Lizzie Q, who has a quietly moving death scene. Another contributing cause is Mollie’s diabetes, which is oddly made worse by the medication Hale has obtained for her and which Ernest administers while perpetually blubbering and squealing with worry over her deteriorating health.

Washington, DC, sends a member of its fledgling Bureau of Investigations (later to become the FBI) when the situation gets too severe for the federal authorities to ignore. Jesse Plemons portrays Tom White in this. But Scorsese reveals the politics: the bureau’s tardy establishment seems to be, at least in part, a question of managing the delicate situation involving the white people and the very affluent Osage peoples and strengthening federal control over the nascent state of Oklahoma.

Ernest and Mollie’s relationship, as portrayed by Gladstone and DiCaprio, has a queasy spiritual quality. Strangely, Ernest is serious about his love for his wife, but they are surrounded by violence and ill faith. His genuine relationship is, of course, with his uncle; he is the younger man’s alpha.

Strangely, DiCaprio resembles DeNiro, like a puppy taking after its owner: a more youthful, victim-villain version with the same gimlet-eyed terror, hostility, and rat-trap mouth with the corners pushed down. His uncle initiated him into the Masons, and when the young man disappoints him, Hale drags him into the local masonic hall, complete with all its regalia, for the most amazing corporal punishment.

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Hale’s rule, which is ostensibly compassionate and sympathetic to the Osage, is, causing a significant dysfunction of melancholy, alcoholism, lawlessness, fatal illnesses, and murdeɼ. Gladstone gives Mollie an imperfect and self-critical persona, with some guilt over working with her persecutor. She rises above the filth all around her with dignity and composure, but that calm also masks the crippling immobility of disease. She knows Ernest was never good, yet she still finds him charming and seductive.

With the bold frame device of a hastily constructed “true crἰme” radio broadcast involving Osage individuals crudely portrayed by white actors, Scorsese tells a unique story. Ferrari sees This highly compelling movie as a hidden history of American dominance and a violent epidemic poisoning humanity’s wellsprings.

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At the Cannes Film Festival, Kἰllers of the Flower Moon was screened. Nonetheless, we receive new updates… You can read prior articles on our website. Also, Follow us on our Twitter page for more information on other new series that have been renewed.

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